- Publication date
- Public Domain
- PRC Pictures, Inc.
You can find more information regarding this film on its IMDb page.
John Carradine .... Gaston Morrell
Jean Parker .... Lucille
Nils Asther .... Inspector Lefevre
Ludwig Stössel .... Jean Lamarte (as Ludwig Stossel)
George Pembroke .... Inspector Renard
Teala Loring .... Francine
Sonia Sorel .... Renee
Henry Kolker .... Deschamps
Production Manager: C.A. Beute
Assistant Director: Raoul E. Pagel
Art Director: Paul Palmentola
Assistant Art Director: Angelo Scibetta
Set Decorator: Glenn P. Thompson
Sound Engineer: John Carter
Master of Properties: Charles Stevens
Director of Photography: Jockey A. Feindel, A.S.C.
Wardrobe: James H. Wade
Coiffures: Loretta Francel
Makeup: Milburn Moranti
Supervising Film Editor: Carl Pierson
Marionettes by Barlow & Baker
Musical Score Composed & Conducted by Erdody
Production Designer Eugen Schufftan
Associate Producer Martin Mooney
Produced by Leon Fromkess
Directed by Edgar G. Ulmer
Cast includes John Carradine, Jean Parker, Nils Asther, Ludwig Stossel, George Pembroke, Teala Loring, Sonia Sorel, Henry Kolker, Emmett Lynn, Iris Adrian, Patti McCarty, Carrie Devan, and Anne Sterling.
- Closed captioning
- Edgar G. Ulmer
- Run time
Subject: Artistic neck squeezer
The soft print is a bit murky but otherwise okay, however two nonessential minutes are missing. Good audio.
Subject: Ho Hum
I tried the 512Kb MPEG4, but it showed too many compression artifacts so I downloaded the 1.9GB MPEG2. Video is interlaced. The source showed lots of wear, but video quality was still good enough, as was the audio.
Thank God for film.
Subject: carradine's best
in many roles, ie the gambler in Stagecoach, Dracula in numerous universal pictures, even to playing the villian in Silver Spurs (Internet
Archive}. He, like Karloff, was typecast in many films and only did them for survivial of his craft. Bluebeard is different. It gives Mr. Carradine opportunity to expand his artistic muscles beyond the usual one dimensional character to protray a character who the viewer feels absolute apathy for. Also the choice of music by Eurody is an interesting one with snipets of Modest Morousky's Pictures at an Exhibition intersperse through the film is an excellent touch. The film is worthy of a viewing, perhaps many times.
Subject: Underappreciated Cinematic Literature
Distinguishing this film is the use of usual literary techniques, namely themes, motifs, symbols, decent characterization and almost postmodern treatment of the narrative at times. To give a few examples without spoilers, I submit as a theme that of redemption, which is a possible motivation of Bluebeard, as you'll see. This theme is bolstered by the use of Goethe's Faust as a puppet-play within the film, Gaston (Carradine) himself singing Mephisto's part, which is noteworthy.
Another theme is that of determinism, as supported by the puppetization. Goethe's Faust could have been performed a number of ways, but instead it was by puppets. The climax of the film, Bluebeard's confession, supports this idea.
A motif to look for is that of fine art, which is rather prominent in the film. Another is artifice; Lucille makes clothes, and clothes hide people's nakedness. Bluebeard hides his true identity. Other characters also hide their identities in the film. This hiding of nakedness alludes to Adam and Eve hiding their nakedness from God after eating the 'forbidden fruit'. Naturally, such an allusion ties in very much with the theme of redemption mentioned earlier.
There are a host of other things to discover in this film; these are all very rich avenues. John Carradine himself found this his favorite film, and I can see why. The character of Gaston is moving, sympathetic, drawing the viewer into conflict.
Overall, I say that this film is not only eminently watchable, it begs to be rewatched. Any time spent watching this, even multiple times, is far from wasted. I only scratched the surface in this review.
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